Concept, Choreography, Direction, and Dramaturgy by Lenka Vagnerová
Review by Marina Funcasta
Panoptikum promises physical theatre but delivers a magnificent showcase of eerie idiosyncrasies and haunting illusion. Hypnotising from the moment they enter onstage, the ensemble of dancers from Lenka Vagnerovná company are devilishly disturbing in their switching disguises. From sword fights, to disembodiments, to snake charmers – there is something in here for everyone. Reaching over a hundred minutes, this performance is brimming with character and still avoids becoming tiresome. This is predominantly due to the sheer talent of its cohort, but also, of course, a credit to Vagnerová’s vision.
The acrobatic elasticity of the ensemble allows their sequences to weave in and out of each other with ease. From moments of darkness, shrouded in loneliness and fear, to lighter segments fostering laughter and genuine magic, each section of this kaleidoscope stands out distinctively. Inspired from historical characters from by 19th century freak shows, each performance is anchored in a deep sense of isolation. The victorians had a penchant for shame, and social outcasts often would find community in circus shows such as Panoptikum. It is this historical reality which fosters the underlying sadness of the performance.
Although this may also be due to the lowly tune designed by Ivan Archer, the despondent motif matches with the dingy set and costume design, masterfully created by Jakob Kopecký and Simona Rybakova. This brings an important weight, providing a constant footnote reminding the audience of the darker shadows surrounding the spotlight.
Indeed, the compulsive search for adoration is best exemplified by the ring master, Adam Sojka. Machiavellian in his tireless wounding of his troop of freaks, his presence is felt throughout. Seeming untouchable, his contempt is also directed towards his female side-kick, Paula Morejón.
Morejón does a particularly good job of bringing to light the more humorous parts of this piece, of which there are many. In a moment of unexpected revolt, Morejón’s fate is sealed on a pole – her apparent immobility only to be undermined by a Spanish rant. Other moments of comedy are scattered in between the acts, and come it at perfect times. This is what saved the production from over-indulgence, and as Andrew Scott famously said, there is no great work of art that isn’t at least a bit funny.
What I found most interesting about both the comedy and, generally, the more self-aware moments of Panoptikum, is the audience’s reactions. There was a tangible sense of uncertainty before every round of applause, highlighting our own insecurity in whether the wider performance’s tone was metatheatrical. Perhaps a greater clarity on this end would help to underline the wider performance’s point, although I must admit, I enjoyed the ambiguity.
The blurry mist which covered the stage as soon as we walked on continued to mystify throughout, and for me, this is what made Panoptikum so entertaining; constantly teasing its audience, refusing to give everything away, the show mastered moments of fear with moments of courage, and left a clear impression of the strength of its strange performers.
Leaves a Clear Impression
Panoptikum runs at ZOO Southside
Running time: Ninety minutes without interval
Photo credit: Vojtech Brtnicky
Review by Marina Funcasta (contact@corrblimey.uk)
Marina is halfway through an English literature degree at Edinburgh University, wherein she has been (considerably) involved in the drama scene: enjoying performing with their Shakespeare Company shows, but also modern takes on Arthur Miller. However, Marina’s interests are wide-ranging under the theatre genre – enjoying abstract, more contemporary takes on shows (with a keen interest in Summerhall)
